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Dawes have shared a new single, “Never Gonna Say Goodbye,” with an accompanying lyric video, but, much like logging into your roommate’s Spotify premium account, you’re going to need a password to listen. Each of these passwords is made up of musical notes that, in sequence, represent various musical refrains from the band’s catalog.

You can listen to the band’s new track and explore other materials from Dawes’ forthcoming album Passwords, due out June 22nd, on their nifty new interactive site right here, which houses the “Dawes Passwords Machine.” The code to listen to “Never Gonna Say Goodbye” is D6 D1 C5 C5 D6 D1 D6, but you’re going to have to do the rest of the unlocking on your own.

Here’s what the band had to say about the rare and anomalous Dawes Passwords Machine:

Dawes have already shared two singles from Passwords, the synth-riddled “Living In The Future” and the more mellow track “Crack The Case.” Each track has an accompanying video

The California-based rockers also have a North American tour kicking off in August. In addition to their headlining “Evening With Dawes” shows where they’ll play two separate sets, Dawes are also opening for Jeff Lynne’s Electric Light Orchestra at several shows, including one at Madison Square Garden.

Again, Passwords is out June 22nd, Down below, watch a teaser for Dawes’ “Never Gonna Say Goodbye” lyric video,

Dawes have already shared two singles from Passwords, the synth-riddled “Living In The Future” and the more mellow track “Crack The Case.” Each track has an accompanying video

The California-based rockers also have a North American tour kicking off in August. In addition to their headlining “Evening With Dawes” shows where they’ll play two separate sets, Dawes are also opening for Jeff Lynne’s Electric Light Orchestra at several shows, including one at Madison Square Garden.

Again, Passwords is out June 22nd,

The Milk Carton Kids released a new single “Younger Years” in anticipation of their forthcoming album, All The Things That I Did And All The Things That I Didn’t Do,due June 29th via Anti- Records.

The record will be the band’s fourth album release.

Likened to folk greats such as The Everly Brothers and Simon & Garfunkel, the duo is comprised of folk guitarists/vocalists Kenneth Pattengale and Joey Ryan. The singles “Younger Years,” “Big Time” and “One More For The Road” are available as will the new album be upon its release.

The group plans to support the new project with a North American headlining tour starting in June.

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The Native Cats are the perfect example of ‘less is more’. Armed with just a drum machine, bass, vocals and what looks like a Nintendo DS based synth, Chloe Escott and Julian Teakle power through songs from John Sharp Toro, their LP from last year, . The basslines are simple but raw, mixing with the pounding drum machine loops and Chloe‘s raw vocals and evocative lyrics. It sort of sounds like if LCD Soundsystem were a Talking Heads cover band with only two members, and who are also extremely angry, and it was sublime. Chloe‘s DS synth added some flair to the spectacle as she set up weird and warm loops or harsh affectations to the songs in all the right places.

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On their new single, “Dunkirk,” Dublin art-punks Silverbacks combat marital strife and boredom via tense, methodical beats and prickly guitar riffs. “My soul was hurt on a private beach in Dunkirk,” intones frontman Daniel O’Kelly, imagining a post-apocalyptic society made up of “frustrated commuters,” “sunken castles and Advil.” According to the band, the track’s hero “struggles to find a unique way to rebel.”

“The song is about a character who is questioning the life they have been dealt,” Silverbacks explain. “They find themself in a near dystopian future where Dunkirk, despite its history, has become a built-up holiday destination for young families.”

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With only single-digit days left before the June 15th release of their much-anticipated album Hope Downs, from Australian Melbourne’s Rolling Blackouts Coastal Fever have shared one last single and announced their biggest headlining tour yet, album-closing cut “The Hammer” comes on the heels of three previous singles, “Mainland,” “Talking Straight” and “An Air Conditioned Man.”.

“The Hammer” taken from their forthcoming album, Hope Downs, which is out next week (June 15th) via Sub Pop Records. Like most of what you’ll hear on the new album, “The Hammer” is earworm indie rock that nods to Australia’s (and New Zealand’s) rich history of strummy pop (The Go Betweens, The Clean).

studious patrons of a specific corner of the internet may already be familiar with Sarah Beth Tomberlin’s stirring At Weddings , released under her own surname last year.  the substance and weight of that album appropriately drew the interest of Saddle Creek Records, who will reissue At Weddings, containing three brand-new songs, on august 10th.

as an introduction (or re-introduction), Tomberlin has shared a new music video for her standout cut “Self-Help,” its meditative, metallic timbre supplemented by hazy footage of Tomberlin taking in an aquarium.  the recurring jellyfish feel like a subtle nod to references of electrocution and overall pain, concepts Tomberlin sifts through with devastating turns of phrase.

juniore

Parisian band Juniore have been around for a few years, mixing surf and modern pop with yéyé and other French-y sounds. If you like La Femme, Juniore work in a similar style and share a producer, Samy Osta. After a string of singles, Juniore released their debut album, Ouh Là Là last year .

Burger Records is reissuing Ouh Là Là on cassette this month and it comes with a new song, “Magnifique,” for which the band just released a video. You can watch that below as well. “Magnifique” is also the title track of a new 10″ EP Juniore are releasing in Europe.

Katie Von Schleicher recently announced the release of a special 7″ single to come out on Full Time Hobby on May 4th. The track ‘Glad To Be Here’ was launched online a couple of weeks ago, and today we bring you the flip side ‘Party Dawn’.

The confidence that Von Schleicher exudes on the new single belies the fact that she just released her debut album, Shitty Hits, last year. ‘Party Dawn’ is a song that crackles with thoughts and memories, electrified by Von Schleicher’s brooding voice. The atmosphere of the song is heavy, accentuated by rumbles of thunder and delicately splashy percussion. Although always seemingly on the verge of breaking into a fully cathartic moment, she keeps her patience and her poise throughout, only letting minor surges of feeling eke out at a time, ensuring that ‘Party Dawn’ maintains its focus and magnetism throughout, and is all the more impressive for that.

Von Schleicher says about the new songs: “On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smushed by silence, and it was lonely, so I made these songs. “Glad to Be Here” is where I find myself right now. “Party Dawn” is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

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Released May 4th, 2018

gtrs, piano, synth, drums, vocals – kvs 
gtrs, bass – adam brisbin 

As an intimate meditation on modern womanhood, Laura Marling’s Semper Femina was about as grounded as could be. Just a year later on LUMP, the debut of her side project with Tunng founder Mike Lindsay, Marling shakes off the pressures of authorship and embraces the surreal, ditching her persona of world-weary folk singer to be the medium for the faceless expressive force the duo call LUMP. While her lyrics might be free to lean into the abstract, Marling’s vocal performance is still recognizably folksy, down to her cadence and melodies on nearly every track. Lindsay has wrapped her voice in pulsing, hypnotic arrangements that easily slide from euphoric to ominous, and on the album’s dreamiest cuts the atmosphere gets filled out with sunny woodwinds and an angelic choir of Marlings harmonizing into infinity. All that surrealist pop plays out over 30 minutes of interlocking songs, enough to keep you thoroughly entranced and get you hoping LUMP might soon inspire its hosts to deliver more.

“Late To The Flight” kicks off the album in stunning fashion, welcoming listeners with a shimmering aural sunrise painted in flutes and endless layers of Marling’s delicate voice.

Tunng’s Mike Lindsay – a prolific, Mercury prize-winning producer – was introduced to Grammy-nominated, Brit award-winning singer-songwriter Laura Marling after her show supporting Neil Young in London. LUMP is a heady blend of wonked-out guitars, Moog synths and pattering drums, set against droning, coiling clouds of flutes and voices. The lyrics are inspired by early-20th-century Surrealism and the absurdist poetry of Edward Lear and Ivor Cutler – a bizarre but compelling narrative about the commodification of curated public personas, the mundane absurdity of individualism, and the lengths we go to escape our own meaninglessness.

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As Kiley Lotz told Paste magazine, Magic Gone represents “finally starting to accept who I am… Instead of running away from the hard stuff, I’m starting to now sort of see the joy and pride you can take in owning your own shit in your life.” Petal’s final Magic Gone single is “Stardust,” a sparse and delicate rock ballad that showcases the raw-yet-concise power of Lotz’s voice.

“Stardust” by Petal from the upcoming album ‘Magic Gone’, out June 15th, 2018 on Run For Cover Records